Pub Date : 2022-02-03DOI: 10.1177/02762374221118528
Katherine N. Cotter, D. Crone, J. Pawelski
People visit art museums for many reasons—to see something beautiful or famous, to learn more about art, or to experience a sense of awe. Recently, there has been increased interest in how art museum engagement can promote flourishing. Little is known, however, about how the professionals shaping these art museum experiences (e.g., curators, educators, front of house staff) view art museums as institutions that can promote flourishing outcomes. In the present research, we examined the perceptions of 208 art museum professionals regarding the functions of art museums and their ability to impact both well-being (e.g., empathy, self-acceptance) and ill-being (e.g., anxiety, loneliness) factors. The findings suggest that art museum professionals feel that the well-being of visitors should be emphasized as a goal more strongly than it currently is, and that there are some well-being and ill-being components (e.g., empathy, helping, closed-mindedness) that should receive greater attention than others.
{"title":"Flourishing Aims of Art Museums: A Survey of Art Museum Professionals","authors":"Katherine N. Cotter, D. Crone, J. Pawelski","doi":"10.1177/02762374221118528","DOIUrl":"https://doi.org/10.1177/02762374221118528","url":null,"abstract":"People visit art museums for many reasons—to see something beautiful or famous, to learn more about art, or to experience a sense of awe. Recently, there has been increased interest in how art museum engagement can promote flourishing. Little is known, however, about how the professionals shaping these art museum experiences (e.g., curators, educators, front of house staff) view art museums as institutions that can promote flourishing outcomes. In the present research, we examined the perceptions of 208 art museum professionals regarding the functions of art museums and their ability to impact both well-being (e.g., empathy, self-acceptance) and ill-being (e.g., anxiety, loneliness) factors. The findings suggest that art museum professionals feel that the well-being of visitors should be emphasized as a goal more strongly than it currently is, and that there are some well-being and ill-being components (e.g., empathy, helping, closed-mindedness) that should receive greater attention than others.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49218995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-17DOI: 10.1177/02762374211072964
Francesco Angelini, Massimiliano Castellani, Pierpaolo Pattitoni
Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market.
{"title":"Artist Names as Human Brands: Brand Determinants, Creation and co-Creation Mechanisms","authors":"Francesco Angelini, Massimiliano Castellani, Pierpaolo Pattitoni","doi":"10.1177/02762374211072964","DOIUrl":"https://doi.org/10.1177/02762374211072964","url":null,"abstract":"Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41731516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-16DOI: 10.1177/02762374211059460
D. Omigie, Jessica Ricci
Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.
{"title":"Curiosity Emerging From the Perception of Change in Music","authors":"D. Omigie, Jessica Ricci","doi":"10.1177/02762374211059460","DOIUrl":"https://doi.org/10.1177/02762374211059460","url":null,"abstract":"Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42618630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-15DOI: 10.1177/02762374221104059
María Jesús Cano-Martínez, Miguel Carrasco, Joaqu'in Sandoval, C'esar Gonz'alez-Mart'in
Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed.
{"title":"Quantitative Analysis of Visual Representation of Sign Elements in COVID-19 Context","authors":"María Jesús Cano-Martínez, Miguel Carrasco, Joaqu'in Sandoval, C'esar Gonz'alez-Mart'in","doi":"10.1177/02762374221104059","DOIUrl":"https://doi.org/10.1177/02762374221104059","url":null,"abstract":"Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46417863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-29DOI: 10.1177/02762374211047971
Christiana Iordanou, M. Allen, L. Warmelink
This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews.
{"title":"Drawing and Memory: What is the Content of Children’s Drawings and How Does it Differ From Their Verbal Reports?","authors":"Christiana Iordanou, M. Allen, L. Warmelink","doi":"10.1177/02762374211047971","DOIUrl":"https://doi.org/10.1177/02762374211047971","url":null,"abstract":"This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43114522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-20DOI: 10.1177/02762374211047973
R. Brisson, R. Bianchi
Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness.
{"title":"Aesthetic Disposition, Educational Capital, Personality Trait Openness, and Sex: A Study of French High-School Students","authors":"R. Brisson, R. Bianchi","doi":"10.1177/02762374211047973","DOIUrl":"https://doi.org/10.1177/02762374211047973","url":null,"abstract":"Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47485262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-23DOI: 10.1177/02762374211001800
Ernesto Monroy, Toshie Imada, N. Sagiv, Guido Orgs
Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.
{"title":"Dance Across Cultures: Joint Action Aesthetics in Japan and the UK","authors":"Ernesto Monroy, Toshie Imada, N. Sagiv, Guido Orgs","doi":"10.1177/02762374211001800","DOIUrl":"https://doi.org/10.1177/02762374211001800","url":null,"abstract":"Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/02762374211001800","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49281150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-03-17DOI: 10.1177/02762374211001798
F. Felisberti
In folk psychology experiences of ugliness are associated with the negation of beauty and disorder, but empirical evidence is remarkably rare. Here, participants (called informed) took 102 photographs of ugly landscapes and urban scenes and reflected on their experiences. Later, participants naïve to the intentional ugliness in the photographs rated landscapes higher than informed participants. The ratings for urban scenes were similar in the two cohorts. Reflective notes revealed that emotional experiences with visual ugliness could overlap (e.g. decay), but ugliness was associated more frequently with fear and death in landscapes, and with sadness and disgust in urban scenes. The findings uncovered a complex layer of associations. Experiences triggered by perceived ugliness were contingent on a composite of socio-cultural, emotional, and evolutionary factors. Rather than being the endpoint on an aesthetic scale culminating with beauty, ugliness seems to be experienced as an independent aesthetic experience with its own processing streams.
{"title":"Experiences of Ugliness in Nature and Urban environments","authors":"F. Felisberti","doi":"10.1177/02762374211001798","DOIUrl":"https://doi.org/10.1177/02762374211001798","url":null,"abstract":"In folk psychology experiences of ugliness are associated with the negation of beauty and disorder, but empirical evidence is remarkably rare. Here, participants (called informed) took 102 photographs of ugly landscapes and urban scenes and reflected on their experiences. Later, participants naïve to the intentional ugliness in the photographs rated landscapes higher than informed participants. The ratings for urban scenes were similar in the two cohorts. Reflective notes revealed that emotional experiences with visual ugliness could overlap (e.g. decay), but ugliness was associated more frequently with fear and death in landscapes, and with sadness and disgust in urban scenes. The findings uncovered a complex layer of associations. Experiences triggered by perceived ugliness were contingent on a composite of socio-cultural, emotional, and evolutionary factors. Rather than being the endpoint on an aesthetic scale culminating with beauty, ugliness seems to be experienced as an independent aesthetic experience with its own processing streams.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/02762374211001798","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.1177/0276237421994694
Robert R. Clewis, D. Yaden, A. Chirico
This empirical study examines how philosophical work on the sublime relates to contemporary psychological work on awe. We operationalized several aspects of the sublime drawing from prominent philosophical theories and analyzed them in relation to three different measures of awe: the modified Differential Emotions Scale (mDES), the awe sub-scale of the Dispositional Positive Emotion Scale (DPES), and the Awe Experience Scale (AWE-S). We carried out an Exploratory Factor Analysis on our items on the sublime. We found high correlations between these items and the measures of awe, especially with the self-loss and connectedness dimensions of the AWE-S. By operationalizing aspects of the sublime drawn from influential philosophical theories and comparing them with psychological measures of awe, we find a large degree of overlap between awe and the sublime, suggesting that these two literatures could inform one another.
{"title":"Intersections Between Awe and the Sublime: A Preliminary Empirical Study","authors":"Robert R. Clewis, D. Yaden, A. Chirico","doi":"10.1177/0276237421994694","DOIUrl":"https://doi.org/10.1177/0276237421994694","url":null,"abstract":"This empirical study examines how philosophical work on the sublime relates to contemporary psychological work on awe. We operationalized several aspects of the sublime drawing from prominent philosophical theories and analyzed them in relation to three different measures of awe: the modified Differential Emotions Scale (mDES), the awe sub-scale of the Dispositional Positive Emotion Scale (DPES), and the Awe Experience Scale (AWE-S). We carried out an Exploratory Factor Analysis on our items on the sublime. We found high correlations between these items and the measures of awe, especially with the self-loss and connectedness dimensions of the AWE-S. By operationalizing aspects of the sublime drawn from influential philosophical theories and comparing them with psychological measures of awe, we find a large degree of overlap between awe and the sublime, suggesting that these two literatures could inform one another.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48642901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.1177/0276237421994699
J. Friedenberg, Preston Martin, Naomi Uy, M. Kvapil
Fractals are patterns that show self-similarity at different levels of scale. Typically they appear in nature and this degree of similarity is approximate or statistical. However, artificial or exact fractals have also been studied and the advantage of these stimuli is the ability to more carefully control the relationships that occur across various hierarchies. In two experiments we studied the perceived beauty of a novel class of exact visual fractal in which we introduced reflection, rotation, translation, and random symmetries that repeated at a local and global levels. Rotation and reflection were consistently preferred to translation and randomness. Only reflected patterns were preferred at a vertical orientation. For all other symmetries there was no difference in preference between vertical and horizontal. In a second experiment we progressively eliminated the salience of local symmetry through opaque shading . Perceived beauty decreased with an increase in shading . For these patterns greater discriminability of their fractal quality makes them more aesthetically appealing.
{"title":"Judged Beauty of Fractal Symmetries","authors":"J. Friedenberg, Preston Martin, Naomi Uy, M. Kvapil","doi":"10.1177/0276237421994699","DOIUrl":"https://doi.org/10.1177/0276237421994699","url":null,"abstract":"Fractals are patterns that show self-similarity at different levels of scale. Typically they appear in nature and this degree of similarity is approximate or statistical. However, artificial or exact fractals have also been studied and the advantage of these stimuli is the ability to more carefully control the relationships that occur across various hierarchies. In two experiments we studied the perceived beauty of a novel class of exact visual fractal in which we introduced reflection, rotation, translation, and random symmetries that repeated at a local and global levels. Rotation and reflection were consistently preferred to translation and randomness. Only reflected patterns were preferred at a vertical orientation. For all other symmetries there was no difference in preference between vertical and horizontal. In a second experiment we progressively eliminated the salience of local symmetry through opaque shading . Perceived beauty decreased with an increase in shading . For these patterns greater discriminability of their fractal quality makes them more aesthetically appealing.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994699","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43904498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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